Key-board for musical instruments



(No Model.) 3 Sheets-Sheet 1.

W. T. WEIR. KEYBOARD FOR MUSICAL INSTRUMENTS.

No. 327,628. Patented Oct. 6, 1885 Win45 55$: IPWEQTEIR.

621.65. %M@ wma (No Model.) 3 Sheets-Sheet 2. W. T. WEIR. KEYBOARD FOR MUSICAL INSTRUMENTS.

No. 327,628. Patented Oct. 6, 1885.

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Patented Oct. 6, 1885.

INVENTURI n. PETERS MLMI'IINY- M UNITED STATES PATENT OFFICE.

IVOBTHINGTON T. WEIR, OF SPRING HILL, ILLINOIS.

KEY-BOARD FOP; MUS

ICAL INSTRUMENTS.

SFECIFICATIQN forming part of Letters Patent No. 327,628, dated October 6, 1885.

A pplication filed October 3, 1884.

To aZZ whom it may concern:

Be it known that LIVoRTHINGroN T. WEIR, a citizen of the United States, residing at Spring Hill, in the county of \Vhiteside and State of Illinois, have invented certain new and useful Improvements in Key-Boards for Musical Instruments; and I do hereby declare the following to be a full, clear, and exact description of the invention, such as will enable others skilled in the art to which it appertains to make and use the same, reference being had to the accompanying drawings, and to letters or figures of reference marked thereon, which form a part of this specification.

This invention relates to organ and piano key-boards, in which the keys are divided or arranged in three harmonic divisions or rows, and in which provision is also made for mechanically transposing the music being played in order to enable the player to more readily play the music; and the improvements herein described relate more particularly to the adaptation of the key-board described in Letters Patent-ofthe United States, No. 204,981, granted to me September 9, 1884., to permanent use on a piano or organ.

The invention consists in the matters hereinafter set forth, and particularly pointed out in the appended claims.

In the accompanying drawings, Figure 1 is a view of the ordinary key-board of an organ with the stop-action removed and a part of my key-board in place thereon. Fig. 2 shows a frame in which the key-board proper is shifted. Fig. 3 shows such board and frame united. Fig. 4 is a section in line a: xofFig. 3. Fig. 5 is a plan view,showinga portion of the keys in place. Fig. 6 is a section in line y y of Fig. 5. Fig. 7 shows an in dicator by which to determine the position of the board.

For convenience in description I use herein the terms harmonic divisions and tonic, sub-dominant, and dominant harmonics. The term tonic harmony designates, collectively, all the notes constituting the chords or triads of the tonic in the several octaves of the musical scale.- The term sub-dominant harmony designates, collectively, all the notes constituting the chords or triads of the sub-dominant in the several octaves. The

term dominant harmony designates, collec- Serial No. 144,869. (No model) tively, all the notes constituting the chords of the dominant seventh in the several octaves; and the term harmonic divisions designates, collectively, the three harmonics above named. I also use the term half-step, by which I mean a space equal to the width of one key in the ordinary chromatic board of the organ.

By reference to the drawings it will be seen that the ordinary key-board is left in its usual position, while my harmonic board is located just to the rear of and over the ordinary board, thus leaving the latter entirely free and unobstructed,while the harmonic board is also always in proper position for use, so that the player may use either board at will.

In all organs the ordinary chromatic keyboard (marked A in the drawings) presents an even, level upper surface, A, just back of the black keys. Upon this even surface I place my harmonic board permanently.

The frame B (shown in Fig. 1) is fastened by the blocks 1) upon the ends of the frame supporting the keys of the ordinary board A, or otherwise.

B is a board or bar extending from one block b to the other, and provided with a series of vertical holes, Z2, one over each key of the board A, in which rest loose vertical shafts or pegs 5*. Each of these pegs rests with its lower end on a key in the board A,and its upper end projects a little abovethe upper surface of the bar B.

B B are rods or bars also extending from one block b to the other, and lying parallel with and back of the peg-bar B.

B is a board lying in front of the peg-bar B and extending forward to the ivory and ebony of the board A. Such board B may also extend beneath the peg-bar B and be perforated by extending the holes 1) downward.

C is an oblong frame having atits front the bar 0 and at its rear the rod or bar 0 and its length between the ends is three half-steps greater than that of the frame D, below described. On the lower surface of the bar 6 are twelve notches, c, spaced the same as the pegs If and the keys of the board A. These notches are engaged by a pin projecting from the rear side of the peg-bar B. This makes it possible to shift said frame G to the right or left and secure it against lateral movement over any point in the board Awhich may be selected. 0 O are handles extending from the frame 0 toward the player. By these he may lift the front of said frame high enough to release the notches c from the peg b and then shift the frame and let its weight bear it down again and cause another notch c to engage the peg 12 D is a rectangular frame one octave shorter than the board A, and composed of the front and rear bars, D D connected by end pieces, (1 (Z and a central shifting bar, D The bars D and D are each grooved on their lower sides to receiye the bars B B respectively, and ride upon the same, and the rear side of bar D is also grooved to receive the rod 0 and ride thereon, and each of said rods is held loosely in its groove by caps or staples, or otherwise. The frame D rests within the frame (1, and is of sufficient width to fill the space between the bars 0 and 0 while its length is three keys or half-steps less than the interior length of the frame 0, thus permitting the frame D to shift within the frame 0 three halfsteps, and no more. The bar D is of sufficient width to almost fill the space between the bars D D, while it is made a halfstep shorter than the space between the ends 66 diin order that it may be shifted longitudinally with reference to said bars D D one halfstep, and no more. Said bar D may be supported in any suitable manner.

The drawings, Fig. 3, show pins d projecting from the ends of the bar near its rear edge,

and lying loosely in a hole in the end pieces, d d and also a horizontal pin or wire, d, se cured in a groove in each upper front corner of said bar, and lying loosely in a groove in the end pieces, (1 d This allows the bar to be tilted slightly upward at its front and to be shifted laterally, and the pins d also serve another purpose, to be explained farther on. D is a lever attached to bar D and projecting toward the player, by which the bar D is lifted and shifted. When the bar D rests against the end piece, (Z and the whole frame D rests at its farthest point to the right in frame 0, it is necessary to lock or secure both. This is done by means of a projection, (P, on the un der side of the lever D which engages in a notch, 0 in the bar C. As the bar D shifts one half-step within the frame D and the frame D shifts three half-steps, (carrying the bar D with it,) the bar D is carried to the left a total distance of four half-steps, consequently a second notch, 0 placed four halfsteps to the left of the first,is required to lock the lever D when it has been moved to its farthest limit to the left.

. The inner ends of my keys E may be made of wood or other suitable material, and may be formed and secured like the inner ends of the ordinary keys of the organ,and each resting at its outer or middle portion on a peg, 5".

I use only seven keys in each octave, and

these, when the bar D is at its farthest limit to the rightare spaced according to the major scale. All the keys of each octave, excepting the third and sixth, are hinged to the bar D", while the third and sixth are hinged upon the rear part of the bar D", in order that they may be shifted to the right or left a half-step with reference to all the other keys, thus changing thespacin g from major to minor, or from minor to major. The outer ends of the keys may be continuous with the inner ends, and the same in form as the ordinary organ-keys; but for my present purpose I prefer to use the form shown in the accompanying drawings. This consists of a piece of wire or sheet metal, E, suitably attached to the front end of the wooden part of the key, and bent downward just outside of the peg-board B, as shown, until it almost touches the board B", (or the key-board A, when the board B* is not used,) then outward horizontally about three-fourths of an inch,or more, and then upward a suitable distance to receive or constitute a finger-piece.

F is a face-board projecting downward in front of the peg-board and extending the full width of the organ. By extending said faceboard lower down than the upper face of the peg-board B the interior of the organ is coin pletely concealed from view, and a finished appearance is given to the organ, and the ob ject of the downward bend in the arms E of the keys E is to make room for said face-board. The handles (3 and the lever D are also similarly bent for the same purpose. Said faceboard F may be a continuation of the front of the ordinary stop-action,which is to be raised from its customary position over the board A and placed just above my harmonic board. The finger-pieces of the keys are preferably arranged in three rows or banks, each comprising the keys belonging to one of the harmonic divisions, as described in the patent above referred to. This is accomplished by bending the outer ends of the arms E upward in three different vertical planes, and making the ends in the second row a little higher than the first, and the third a little higher than the second. As the first, fourth, and fifth notes of the several octaves each belong to two harmonies, the keys representing such an elevation and end view of the pin and notes are each provided with a forked or double arm, B, one branch thereof being bent upward to stand in one row and the other in another.

G, Fig. 7, is an indicator placed on the faccboard F, back of one of the handles 0. It is divided longitudinally into twelve spaces of the same width as the keys in the keyboard A, and the vertical shank of one of said handles 0 serves as a pointer for said indicator. Said twelve-spaces represent the half-steps of one octave of the keyboard A, and they are divided into an upper and a lower part by a line, a n. In said upper parts are marked the letters representing the keynotes, as

IOO

shown in the drawings. In said lower divisionsare marked the signatures representing the several keynotes of the octave, the signatures indicated by sharps being placed above, and those indicated by flats being placedbelow, as shown. It is obvious, however, that the characters named need not necessarily stand in the order mentioned. All that is necessary is that those representing thesame key stand in the same and the prop er vertical space.

The operation of my key-board is as follows: \Vith the frame D and the bar D moved to their farthest limit to the right in the frame 0, (in the drawings they are shown at their farthest limit to the left,) the keys, as before stated, are spaced according to the major scale, and the board is then adapted to play any music written in that scale. The entire board may now be shifted over the board A by lifting the handles 0' and stopping over the desired key-note in the board A in the manner described in my former patent, and as is done with ordinary transpositionboards. The proper position is shown by the indicator described. If the player knows the key and not the signature in which the music to be played is written, he moves the entire board until the handle 0 stands before the proper letter in the upper division of the indicator; or if he has the written music before him, he shifts the entire board until the handle C stands before the space in the lower division of the indicator which contains the same signature he finds at the beginning of the piece; thus if the signature of the piece be three sharps the handle 0 is placed before the space in the scale on which three of these characters are marked. This latter provision, it will be seen, enables the player to set the board without taking the trouble to remember or ascertain what letter corresponds to a certain signature.

If it be desired to play in the minor and the board is set for the major, the bar D, by means of the lever or arm D, is moved one half-step to theleft, the stationary keys forming a stop. This moves the third and sixth keys each a half-step to the left and spaces the entire board according to the minor scale. IVhen the music changes from major to relative minor, the entire frame D is shifted by means of the lever D to its farthest limit to the left, the frame 0 remaining stationary in the meantime. This changes the spacing and position of all the keys to relative minor. These changes can be made with sufficient ease and rapidity to enable the player to make them, when required, during the course of the performance of a piece.

In finding the position of the board by the indicator it will make no difference whether it is to be used in the major or minor, the signature for each being the same.

In shifting the board by either the handles 0 or D all the keys E are raised from the the bar D is tilted it lifts the front ends of all the keys mounted upon it, as well as those mounted on the bar D. As the bar D is not long enough to extend beneath the keys at the extreme ends of the frame D, the wires dare projected from the ends of bar D far enough to lie beneath such end keys and raise them when bar D is raised.

This keyboard is not designed merely as an aid in playing chords or accompaniments,as are certain other devices heretofore patented. It is capable of use in playing different grades of compositions, and using the scope or range of the organ to the same extent that theiordinary board is, (excepting that no provision is made in my board for striking aecidentals, vhese, when they occur, being struck on the board A.)

The omission of the useless keys and the arrangement of the remaining ones according to the harmonic divisions makes my board particularly helpful in playing by ear or improvising. This enables anychild or unskilled player to supply the bass and intermediate parts for any notes he may strike, or any melody he may be playing, without reference to key or scale.

Vhile I have described my key-board in connection with an organ, I desire to state that it is equally suitable for use on a piano. Placing it on a piano will, however, require certain modifications, which will be made the subjeetnlatter for a future application for patent.

I claim as my invention I 1. A key-board for musical instruments having the first, second, fourth, fifth, and seventh keys of the different octaves on one support, and the third and sixth on another, one or both of said supports being movable a half-step with reference to each other, substantially as shown, and for the purposes specified.

2. Akey-hoard for musical instruments haw ing the third and sixth keys of the severaloctaves supported separately from the other keys on a movable bearing, whereby said keys may be shifted a half-step to the right or left with reference to the other keys, substantially as shown, and for the purpose set forth.

3. In a key-board for musical instruments,

the combination of a frame, D, having the bars D D and supporting the first, second, fourth, fifth, and seventh keys, with the sliding bar D" interposed between said bars D D and supporting the third and sixth keys, substantially as shown, and for the purposes specified.

l. The combination of the bar D and the sliding bar D, eachsupporting thekeys here in enumerated, substantially as shown, and for the purpose specified.

5. In a key-board for musical instruments, the combination of a bar, D and frame D,

supporting the keys, as herein described,with the frame 0, said bar D and frame D being movable with reference to each other and to the frame 0, as shown, and all together movable upon a way or ways, B 13 substantially as shown, andfor the purpose specified.

6. The combination of the bar D", frame D, and keys E, hinged to said bar and frame, sub stantially as described, said bar D being arranged to tilt upward at its front edge and raise the front ends of the keys E, substantially as shown,and for the purpose specified.

7. The combination, with a sliding frame,

D, seated upon ways B B and having the keys E hinged to its rear portion, of an open frame, 0, surrounding said frame D in about the same plane, and hinged thereto at the rear, while its front is free to be raised to lift the front ends of the keys E, substantially as shown and described.

8. The combination,with a frame, D, seated upon ways 13 B and supporting the keys E, of an open frame, G, surrounding said frame D in about the same plane held (temporarily at least) against lateral movement in said frame 0, and hinged thereto at its rear, while its front is free to be raised to release it from the organ and raise thekeys E, and then drawn longitudinally to shift the entire key-board to the right or left, substantially as shown and described.

9. A peg-board, B, or similar board,extending upward from the key-board A, and a faceboard, F, projecting downward a short distance in front of said board B, and almost touching the key-board A, thus excluding the interior of the instrument from View, and at the same time leaving a space for the bent arms of the keys E, substantially as shown and described.

10. A horizontal board, B, lying over the key-board A, a peg-board, B, extending upward at the rear of the board B, and a faceboard, F, projecting downward a short dis tance in front of said board B, and almost touching the board 13*, thus excluding the interior of the instrument from view, and at the same time leaving a space for the bent arms of the keys E, substantially as shown and described.

11. In a keyboard for musical instruments, a series of keys, E, passing over a board, B, then downward in front of the same, and then forward horizontally beneath the face-board F, substantially as shown, and for the purpose set forth.

12. The keys E, having their outer portions bent downward, then forward, and then upward, substantially as shown and described.

13. In a key-board for musicalinstruments, a key or keys having a forked arm or end, E, substantially as and for the purposes herein set forth.

In testimony whereof I affix my signature in presence of two witnesses.

\VORTHINGTON T. \VEIR.

YVitnesses:

OYRUs KEHR, CHARLES H. ROBERTS. 

